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Gabriela Strafacci Orosco UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM GABRIELA STRAFACCI OROSCO METAMORFOSES DE VENUS NA POESIA DE OVÍDIO DISSERTAÇÃO APRESENTADA AO PROGRAMA DE PÓS-GRADUAÇÃO DO INSTITUTO DE ESTUDOS DA LINGUAGEM DA UNIVERSIDADE ESTADUAL DE CAMPINAS (UNICAMP) COMO PARTE DOS REQUISITOS PARA OBTENÇÃO DO TÍTULO DE MESTRE EM LINGUÍSTICA. ORIENTADORA: PROFA. DRA. ISABELLA TARDIN CARDOSO CAMPINAS 2011 1 FICHA CATALOGRÁFICA ELABORADA POR TERESINHA DE JESUS JACINTHO – CRB8/6879 - BIBLIOTECA DO INSTITUTO DE ESTUDOS DA LINGUAGEM - UNICAMP Orosco, Gabriela Strafacci, 1984- Or6m Metamorfoses de Venus na poesia de Ovídio / Gabriela Strafacci Orosco. -- Campinas, SP : [s.n.], 2011. Orientador : Isabella Tardin Cardoso. Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem. 1. Ovídio. Metamorfoses. 2. Ovídio. Remedia amoris. 3. Vênus (Mitologia romana). 4. Intertextualidade. I. Cardoso, Isabella Tardin, 1971-. II. Universidade Estadual de Campinas. Instituto de Estudos da Linguagem. III. Título. Informações para Biblioteca Digital Título em inglês: Metamorphosis of Venus in Ovid’s poetry. Palavras-chave em inglês: Ovid. Metamorphosis Ovid. Remedia amoris Vênus (Mitology roman) Intertextuality Área de concentração: Linguística. Titulação: Mestre em Linguística. Banca examinadora: Isabella Tardin Cardoso [Orientador] Patricia Prata Robson Tadeu Cesila Data da defesa: 07-11-2011. Programa de Pós-Graduação: Linguística. 2 3 4 Aos meus pais. 5 6 AGRADECIMENTOS Não há modo de agradecer apenas com palavras aos que me acompanharam nesta e em outras trajetórias de vida; a todos que me fizeram seguir em frente, o meu sincero “muito obrigada!”. Há, entretanto, algumas pessoas a quem sou grata, acima de todas as outras, porque me acompanharam neste trabalho. A elas, em especial, esta folha é dedicada. Minha família, claro, em primeiro lugar, deu-me todo apoio (e de todo tipo) que precisei. Agradeço à minha mãe, Adalzira, por me inspirar tanta coragem e força e por ser a todo tempo fiel, leal e participativa. Ao meu pai, José Roberto, que me deu os livros, me mostrou os discos e me ensinou que falhar e ter sucesso são fatores igualmente importantes. À minha avó, Alzira, por compreender o mundo da maneira mais bela que já vi e por tentar sempre (e sempre conseguir) compreender-nos independente de nossos desvios. Ao meu irmão, Guilherme, por estar ao meu lado em todos os anos da minha vida, por ser meu amigo e companheiro e por não me deixar só, nunca. À Py querida, por tantos momentos, pela amizade e por me dar o melhor de todos os presentes: minha irmã, Manuela, tão linda sob todos os pontos de vistas e tão capaz de me fazer amá-la cada dia mais. Ao Rodrigo, por tanto amor, por ser verdadeiramente presente e dividir comigo tudo o que nos pesa e nos faz leves. Todos esses anos me fizeram perceber que estar ao seu lado era imprescindível. Dos amigos, muitos se foram. Alguns nunca se afastaram. E a eles eu agradeço de todo coração. Ao Carlos Augusto, claro, por ser meu irmão de alma, minha amizade inabalável, meu melhor amigo, meu poeta favorito. À Marina, por tantas identificações e conversas, por ser amiga, vizinha, cunhada. À Isabela, pela amizade desde o início. À Mariana, inspiradora e linda amiga, muito amiga. À Luciana (ah! Luciana), pelas nossas idas e vindas e pelo carinho e apoio de sempre. Aos meus caríssimos professores e aos dedicados e atenciosos funcionários do IEL/UNICAMP, muito obrigada por tornar minha vida acadêmica um espaço de crescimento. Especialmente, agradeço aos funcionários da Secretaria de Pós Graduação do IEL/UNICAMP, Cláudio Pereira Platero, Miguel Leonel dos Santos e Rosemeire de Almeida Marcelino, sempre prontos a, efetiva e cordialmente, ajudar. Aos professores doutores Paulo Sérgio de Vasconcellos, Marcos Aurélio Pereira e Flávio Ribeiro de 7 Oliveira, por serem parte importante do caminho percorrido até aqui; ao Prof. Dr. Matheus Trevizam, por tantos esclarecimentos e direções, além de boas sugestões, na banca de Qualificação, e da boa vontade em me enviar, via correio, textos úteis ao meu estudo. Agradeço, também de maneira especial, à Profa. Dra. Patricia Prata pelas sempre bem-vindas e produtivas sugestões e pelos momentos agradáveis e enriquecedores durante os meses de Estágio Docente, e a ela e ao Prof. Dr. Robson Tadeu Cesila por aceitarem, gentilmente, fazer parte da banca de defesa desta dissertação; a ambos, ainda, pela compreensão quanto ao prazo de entrega deste texto. À Profa. Dra. Isabella Tardin Cardoso, pela exímia orientação, pelo rigor inspirador que exige e cumpre, porque sem ela essa empreitada não seria possível: faltam palavras para explicar o quão fundamental e atenciosa foi sua participação neste trabalho! E, finalmente, a CNPq, pelo apoio financeiro que viabilizou esta pesquisa desde seu princípio, na Iniciação Científica. 8 Mouit Amor gemmatas aureus alas Et mihi: „propositum perfice, dicit, opus‟ “O amor dourado agitou suas brilhantes asas E me disse : „Leva a bom termo a obra que tens em mente.‟” Ovídio, Remedia Amoris 39-40, trad. A. S. Mendonça. 9 10 RESUMO O interesse deste estudo é observar a presença da deusa romana Vênus, cujo principal atributo é o amor, em obras do poeta romano Públio Ovídio Nasão (43 a. C – 17 / 18 d. C.), mais especificamente nos poemas Os Remédios do amor (Remedia Amoris) e em passagens selecionadas das Metamorfoses (Metamorphoseon Libri). Ao cotejar esses excertos, verifica-se que a deusa, seja metonimicamente (por exemplo, como sinônimo do substantivo "amor"), seja como personagem de aventuras e desventuras amorosas, abrange muito da poesia ovidiana e configura-se de diversas maneiras: no poema didático Remedia Amoris, por exemplo, Vênus é relacionada, com frequência, a narrativas de infelicidade amorosa. Nessa obra, o eu poético, propondo a cura do amor, cita a deusa como referência a histórias amorosas malfadadas. Observar a participação da deusa do amor em Metamorfoses, em que ela não é apenas referida como metonímia de seu atributo, como também é personagem de narrativas míticas, permite perceber com mais clareza em que medida os respectivos episódios mitológicos são mencionados ou aludidos também em Os Remédios do amor. Os excertos de Metamorfoses respectivos aos mitos referidos em Remedia compõem o corpus traduzido, a saber, Met. IV 169-189, X 298-739 e XIV 441- 608 (bem como a comparação com sua menção em Remedia Amoris) é ponto de partida para uma análise da figura de Vênus. O estudo visa, ainda, contribuir modestamente para a discussão sobre a concepção do sentimento amoroso em Ovídio, em particular a ideia de amor como doença. Palavras-chave: Ovídio, Vênus, Metamorfoses (Metamorphoseon Libri), Remédios do amor (Remedia Amoris), intertextualidade. 11 12 ABSTRACT This study has as a central interest observing the presence of the Roman goddess Venus, whose main attribute is love, in Publius Ovidius Naso‟s work (43 B. C – 17 / 18 A. D.), more specifically in the poems Remedia Amoris (Remedies for Love) and in selected passages of Metamorphoseon Libri (Metamorphoses). Throught the comparison among the latin passages pertaincing to both ovidian works, it is noticed that the goddess presence - either metonymically (for instance, as a synonymous for the noun “love”) or as a character of amorous adventures or misadventures - comprises much of the ovidian poetry. In the didactic poem Remedia Amoris, for example, Venus is frequently related to unhappy love narratives. In Remedia the lyric self, purposing the cure for love, mentions the goddess as a reference to unlucky love stories. Observing in the Metamorphoses how the goddess of love participates as a mythical character, helps to perceive the allusion to mythological episodes that also takes part in Remedia Amoris. The respective excerpts of Metamorphoses (namely Met. IV 169-189, X 298-739 e XIV 441-608) that are mentioned in Remedia Amoris compose the corpus of our study. The translation of the selected passages of Metamorphoses, as well as a comparison with their mention in Remedia amoris, is the starting point for the analysis. The study aims also to modestly contribute for the reflection on the conception of the love feeling constituted in Ovid, mainly the idea of love as a disease. Key-words: Ovid, Venus, Metamorphoseon Libri, Remedia Amoris, intertextuality. 13 14 SUMÁRIO APRESENTAÇÃO 17 1 INTRODUÇÃO 23 2 VÊNUS NOS REMEDIA AMORIS 33 2.1 Os Remedia Amoris e o amor como doença 33 2.2 Venus e a patologia amorosa em Remedia e Metamorfoses 61 3 APRECIAÇÃO DAS PASSAGENS TRADUZIDAS 69 3.1 Vênus e Marte 69 3.2 O mito de Mirra em Ovídio 79 3.2.1 Mirra como amante elegíaca nas Metamorfoses de Ovídio 84 3.2.2 O pranto de Vênus 101 3.2.3 Vênus na épica ovidiana 110 4 CONCLUSÃO: DE MITO A PATHOS 117 5 TRADUÇÃO DAS PASSAGENS SELECIONADAS 121 5.1 Vênus e Marte (Met. IV 167-189) 122 5.2 Mirra (Met. X 289-518) 126 5.3 Vênus e Adônis (Met. X 519-739) 150 5.4 A morte de Eneias (Met. XIV 441-608) 168 6 REFERÊNCIAS BIBLIOGRÁFICAS 189 15 16 Apresentação Este estudo iniciou-se com as primeiras leituras de alguns trechos das Metamorfoses de Públio Ovídio Nasão (43 a. C – 17 / 18 d. C.),1 poeta romano que compôs suas obras durante a era de Augusto em gênero elegíaco, elegíaco-didático e épico.2 Foi a partir desse contato que surgiu a ideia de analisar a presença recorrente do sentimento amoroso como temática das poesias ovidianas. Seguiu-se à ideia, a elaboração de um projeto de Iniciação Científica (“Vênus em Ovídio: Remedia Amoris e Metamorfoses”)3 que nos levou à observação do uso metonímico do termo Venus/uenus4 e da presença, como personagem das histórias míticas, da própria deusa romana Vênus, bem como de seu 1 Muito dos dados biográficos que hoje se atribuem ao poeta é parte da obra ovidiana, o que se vê principalmente em Tristia II e IV 10.
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